Trying

Product Notes

A LITTLE BIT OF BIO: Paul Fairall is a native of Leicester, England. He studied under noted guitar player, JOE PASS. He performed with various members of FAMILY, including ROGER CHAPMAN, CHARLIE WHITNEY and ROB TOWNSEND. In 1977 he joined a Rock and Roll Revival band signed to SPLASH RECORDS owned by CHAS CHANDLER. He formed the band Cameo Rôle - a new wave pop band featuring players like ex-Blind Faith bass player RICK GRECH. They did numerous support gigs for artists such as BOY GEORGE and TENPOLE TUDOR. In that same period he recorded a self-released album with Mr. Grech and Cameo Rôle. In 1987 he met up with bass player IAN PORTER (now a recognized writer for television and media music) and joined the critically acclaimed new wave band FISHER Z for their 1987 record release. Whilst on tour, he met his future wife and songwriting partner, an American artist in Paris. He emigrated to America in 1989. MARK CHRISTENSEN, lead singer of THIRST and Paul produced and cowrote songs for their debut album, featuring ANDY NEWMARK on drums. In 1996 he and his wife, Linda Danz, embarked on a songwriting partnership forming the publishing company Fairall Danz Music, Inc. 'Trying' is their first album of original songs, played and sung by Paul Fairall. The album was recorded at 331/3 Recording in Williamsburg, Brooklyn in September, 2000. MIKE KLEIN, who engineered the Sony/Columbia release of singer JAMES MADDOCK, 'Songs From Stamford Hill', engineered and co-produced the current album from Paul Fairall called 'TRYING'. The album was mastered by ANDY VANDETTE at Masterdisk in New York City. REVIEWS FROM FANS: The tone of Paul Fairall's debut 'Trying' brings to mind a small intimate gig, the listener is bouyed up with some whisky or vodka, malt liqour, or whatever is the chosen poison, very relaxed, but lucid enough to catch the sharp lyrical observations that are being strummed your way via Fairall's vocals. 'Trying' is intimate, while retaining a deliciously mysterious air; the sort of album a listener cherishes in order to imagine the characters being sung about and the nature of human relations being sung. The keening quality of the opening mandolin in 'Linda's song' adds to the sweet and assured melancholy of the lyrics 'In a way we hold each other up in a way you'll never see'-a love song exclusive to the the relationship of it's subjects. From a little antipodean point of view this album encapsulates all that is good about English and American music traits that are evident in this album of insightful sarcasm and rough-edged warmth. - Norah Murray, Sydney Australia I put on 'Trying' when I'm feeling introspective and want substance--poetic lyrics combined with music that's melodious yet still rockin'. It takes me to other places, and I like that.You know what it reminds me of? The way I feel after reading 'Wuthering Heights,' one of my favorite novels. I get a sense of the Old World. I see fog, and bogs, and women walking around in long, satiny gowns. Romance. It's like Paul's the story-teller, a bard, wandering around spreading the tales of eons and eons of humanity. And, of course, the cover tells it all. - J.S. NYC 'Fairall's music has all the hallmarks of the troubadour singer/songwriter. Having paid his dues in the bars and halls, with a voice sweet and seasoned, he tells stories of ordinary people. Co-written with Linda Danz these are songs of indolence and experience, a sort of passive resistance. They are never mawkish or condescending but describe the inner life of their characters whether that be of the singer himself or of people he admires such as Virginia Woolf in the first track. The stones in her pockets refrain joins with the river of Styx analogy to lead us into the underworld that was both Woolf's source of inspiration and final undoing. This menopausal mire is described by Fairall with great delicacy. He also has the wit and a light enough touch not to turn this into a dirge. In the simply named Linda's Song he weaves a tribute to his partner and the universal truth of partnership and their capacity to hold each other up. It is a hymn to the couple and to the possibility of the mature relationship. This simple gem of a song is about things that might go unnoticed because of their subtlety. Fairall works best as a lone voice with an acoustic guitar and he seems to have the innate ability to recognise this and not over-produce. There is very little here that could be called excessive or bombastic. He should be heard more and should be filling halls as opposed to arenas as this is music that requires intimacy. His lineage is obvious, Dylan, Mitchell, Rickie Lee Jones, Tom Waits, and there are even aspects of his sincerity that remind me of a more raw David Gray. It would seem that his time might just be about to arrive.' - Billy Quinn, London I've been aware of Paul Fairall's instrument capabilities for some time now and always found it great listening but was delighted to hear his voice on the CD 'Trying'. Why has it taken so long to hear him? Teaming up with Linda must be the key because now together they have generated a really excellent CD. The songs they have written fully exploit the range and amazing strength of the voice married together with the instruments. I personally like End of the Day which starts with a slight hint of off beat emphasis gradually getting stronger and stronger into Reggae bringing back memories of ear piercing blues down at Highfields. The lyrics will touch anyone who listens as they are rooted in experiences shared by most. I hope to hear more from them again soon. - Martin Knowles, Billesdon England Trying' is the best kind of record - memorable tunes, played brilliantly, with words that you often don't quite understand but which hook in your head. A must if you like music in the shape of song. - Neil Mercer, England On' Virginia': Paul Fairall's tenor voice, accompanied by his hard-driving guitar riffs and drums, has all the degrees of grit and passion to make us feel the bitterness of Virginia Woolf's life, but it is his mandolin solos and his and Linda Danz's lyrics that gently and subtly probe the depth of her remorse. Rich in irony and understatement, the words from the chorus ' a little dip in the Underworld on such a nice day, stones in her pocket, shoes on the shore,' imply that Virginia was merely looking for souvenirs on the beach, just like any other beachcomber. We can't help but empathize with Virginia, not only because Paul, singing in the first person, becomes Virginia, but also because he conveys her complicated persona, full of self-deprecation while poking fun at us all. He sings ' You understand what I'm saying,' yet one hundred years ago, most people were mystified by her writings as well as her suicide, as perhaps many still are now. The stanza ' Words shouldn't fail me at the moment, yet they do and they're gone, ' contradicts the notion that what is written is permanent, and refers as much to our own immortality. After hearing the song once on the CD, it resounded again and again in my head, such that a magical alchemy resulted, that forced me to look at her life in a whole new way. I kept playing the song over and over, and because of the rich texture of it's musical components, I heard something new every time. In that sense, I believe that Virginia is a great song. On' Along the Way': For me, the beauty of this song is the way the musical elements harmonize with the content of the lyrics. Along the Way is perhaps the journey of a long-term relationship between two people. Dealing with whatever comes upalong the way, day after day, the couple ends up accepting not only the other, but also, themselves. Paul sings at a slower tempo, which accentuates the meaning of the first line, ' In the long run, you know and see things.' His guitar strumming pattern rythymically repeats the message that if you stick with someone long enough, through all the troubles and unsettled feelings, and have faith that the other person will give you something valuable, even if you don't know right away what it is, he or she will. The melancholy and depth of feeling in Fairall's voice underscores his awareness of self-deception in any relationship, ( ' You lie to keep her, ...you let the story forget the truth.' ), his honest assessment of himself, and a romantic vulnerability that makes the song real. Paul's harmony on the last lines and the organ in the bridge after the second verse are added surprises that keep us interested. - Tucky Fussell, Boston MA I'm here listening to the new master - what a freakin' difference - the recording is now 'alive'...well done. - GT, Los Angeles I have listened to this CD numerous times, especially on the long drive to Lake Forest every weekend and I have come to the conclusion that I love it. Every song has some quality about it that is both innovative and intriguing. I really like Virginia Woolf first because of the invocation of one of my favorite authors and second, for that beautiful line 'A little dip in the Underworld.' I adore the music of Trying and the 'Trickster Monkey.' 'The Violent Side of Katherine Anne' fascinates me as a twist on abuse and that haunting 'She keeps it hidden from everyone/Everyone but me.' I love the refrain of Dangerous Differences and the defiance of Linda's song, 'In a way you couldn't understand/.../In a way you'll never see.' I also especially like Wish Upon a Star at the end which has shades of the hidden track at the end of the Beatle's Sergeant Pepper's Lonely Hearts Club Band record. I hope this conveys how much I've enjoyed listening to the album. - Nicole, Wisconsin 'Trying' is the new CD from musician Paul Fairall with lyrics written in partnership with Linda Danz, a New York painter, who did the cover art. In a world full of noise, when music writing is electronic sampling and great rhythmic belches made palatable by large doses of Ecstasy, the drug, not the spiritual detachment, it is a pleasure just to listen to 'Trying'. Fairall and Danz write songs, real songs, songs that address mostly our emotions, our genuine emotions. That is understandable as lyricist Danz has profound insights into a range of feminine shades. That is particularly true of the lead track, 'Virginia', which is about a 'woman going mad,' notably novelist Virginia Woolf, who wanted to take 'a little dip in the underworld.' It is a song about suicide, and it is not one of these sleazy sentimental appeals to false pity and that comfortable feeling that all have for those who kill themselves. The lyrics are a mixture of the joy of wanting to do oneself in and the emotional pain one feels over the horror of it. Virginia spends her time 'staring into the river'--obviously the Styx, the main river of Hades, Hell. The pain and joy of the song is underscored by the upbeat music and the fact that it is Paul that is singing the song, not a woman. The song might be better suited to be sung by a woman, but then it would lose the edge of Fairall's voice, English, refined, yes, but with that sharpness one might find in a English music hall. Obviously, 'Virginia' is one of my favorites. There is a lot of strange contrasts. There is one of those desperate efforts that one normally finds in very heavy blues. But it is not blues. It has a more slow rock sound that one would expect to be part of love ballad, and instead we find a song of desperation. 'Looking for any sign of things that I will make my own' explains the lyrics. 'Ordinary people live, ordinary die, extraordinary keep trying' is the theme of the title track of the CD. True, and now it is also obvious that this Fairall/Danz collaboration is not kiddie music that does die almost as soon as it is born. You can dance to this music, I supposed, but you won't find Brittney Spears' mechanical movements and costumes set to it, nor will you find eight-year-old girls playing dress-up singing about 'how it takes a long time to scheme for things.' Thank god, music for adults for once, music very good for us all who grew up with rock 'n' roll, folk, psychedelics, and even movie themes and still want to listen music that speaks to human, not television commerical, concerns. You have to give Fairall/Danz praise for trying. For the many of us who have seen Fairall perform live, the CD is a revelation. Usually, Fairall plays solo or with another guitar. The CD, however, is a full band and effects. It was almost a shock, a delightful shock, to listen to the songs with drums in the background and various parts. The songs themselves, always powerful in person, take another life on CD. In great part, the effectiveness of the music is enhanced by it's analog, not digital, quality. The music is perfectly avant-garde, and yet it has an almost retrospective feeling as if it were on exceptional vinyl, not laser. Another favorite is 'Dangerous Differences' which truly has that music hall quality, and it is a catty little tune, about problems between women that arise suddenly after a long time. It is a particularly true tune that applies to all those friendships one has where the true differences are not addressed until they erupt in flurries of variously motivated hostilities. There are ten fine songs on 'Trying', and one can feel the deep simpatico that is needed to make a collaboration like this work. It comes about because Danz expresses whatever it is that she has to say, and Fairall writes what he wants. 'And at the end of the day' it all fits; it is not 'a rude awakening.' It is clear that Fairall is a true musician, one who has practiced his talent, rather than being packaged into a commodity, while Danz is just a writing talent to envy, as she is also a very good painter. - K.Pehme, NYC Paul Fairall's new CD 'Trying' is an exciting new addition to the pop-rock genre. The music is beautifully crafted. The title track of the CD 'Trying' is a compelling song. Combining thoughtful lyrics and a heartfelt melody that sweeps you into it's space. Songs like 'Dangerous Differences' jolt you with a great bluesy edge, which is echoed in the subtle complexity of the lyrics. 'Along the Way' is a melodic gem. A bittersweet melody that sneaks right into your soul. 'Troubled Boy' is destined to become a hit. It's got a hook that will grab hold of you and make you want to hear this tune, over and over. Linda Danz shares co-writing with Paul Fairall on all the lyrics of the CD. The words weave through the music, in such a complementary way, creatively using the music to enhance and sometimes offset the songs meanings. The CD performs well as a whole body of work. Although each song stands on it's own, the feeling you get after listening to the whole CD is ultimately satisfying. Fairall and Danz use subtly, sarcasm and a quietness to convey their views, feelings and ideas. While the CD in and of itself leaves nothing wanting; there is something more I'd like from them; The next CD! This CD will not disappoint and is well worth the money. R.Ziesk - NYC I just got my copy of Paul's CD today and listened to it during lunch. It's just wonderful!!! But I have to say that my favorite song has to be Virginia. It just keeps going round and round in my head. - E.V., NYC.

Credits

A LITTLE BIT OF BIO: Paul Fairall is a native of Leicester, England. He studied under noted guitar player, JOE PASS. He performed with various members of FAMILY, including ROGER CHAPMAN, CHARLIE WHITNEY and ROB TOWNSEND. In 1977 he joined a Rock and Roll Revival band signed to SPLASH RECORDS owned by CHAS CHANDLER. He formed the band Cameo Rôle - a new wave pop band featuring players like ex-Blind Faith bass player RICK GRECH. They did numerous support gigs for artists such as BOY GEORGE and TENPOLE TUDOR. In that same period he recorded a self-released album with Mr. Grech and Cameo Rôle. In 1987 he met up with bass player IAN PORTER (now a recognized writer for television and media music) and joined the critically acclaimed new wave band FISHER Z for their 1987 record release. Whilst on tour, he met his future wife and songwriting partner, an American artist in Paris. He emigrated to America in 1989. MARK CHRISTENSEN, lead singer of THIRST and Paul produced and cowrote songs for their debut album, featuring ANDY NEWMARK on drums. In 1996 he and his wife, Linda Danz, embarked on a songwriting partnership forming the publishing company Fairall Danz Music, Inc. 'Trying' is their first album of original songs, played and sung by Paul Fairall. The album was recorded at 331/3 Recording in Williamsburg, Brooklyn in September, 2000. MIKE KLEIN, who engineered the Sony/Columbia release of singer JAMES MADDOCK, 'Songs From Stamford Hill', engineered and co-produced the current album from Paul Fairall called 'TRYING'. The album was mastered by ANDY VANDETTE at Masterdisk in New York City. REVIEWS FROM FANS: The tone of Paul Fairall's debut 'Trying' brings to mind a small intimate gig, the listener is bouyed up with some whisky or vodka, malt liqour, or whatever is the chosen poison, very relaxed, but lucid enough to catch the sharp lyrical observations that are being strummed your way via Fairall's vocals. 'Trying' is intimate, while retaining a deliciously mysterious air; the sort of album a listener cherishes in order to imagine the characters being sung about and the nature of human relations being sung. The keening quality of the opening mandolin in 'Linda's song' adds to the sweet and assured melancholy of the lyrics 'In a way we hold each other up in a way you'll never see'-a love song exclusive to the the relationship of it's subjects. From a little antipodean point of view this album encapsulates all that is good about English and American music traits that are evident in this album of insightful sarcasm and rough-edged warmth. - Norah Murray, Sydney Australia I put on 'Trying' when I'm feeling introspective and want substance--poetic lyrics combined with music that's melodious yet still rockin'. It takes me to other places, and I like that.You know what it reminds me of? The way I feel after reading 'Wuthering Heights,' one of my favorite novels. I get a sense of the Old World. I see fog, and bogs, and women walking around in long, satiny gowns. Romance. It's like Paul's the story-teller, a bard, wandering around spreading the tales of eons and eons of humanity. And, of course, the cover tells it all. - J.S. NYC 'Fairall's music has all the hallmarks of the troubadour singer/songwriter. Having paid his dues in the bars and halls, with a voice sweet and seasoned, he tells stories of ordinary people. Co-written with Linda Danz these are songs of indolence and experience, a sort of passive resistance. They are never mawkish or condescending but describe the inner life of their characters whether that be of the singer himself or of people he admires such as Virginia Woolf in the first track. The stones in her pockets refrain joins with the river of Styx analogy to lead us into the underworld that was both Woolf's source of inspiration and final undoing. This menopausal mire is described by Fairall with great delicacy. He also has the wit and a light enough touch not to turn this into a dirge. In the simply named Linda's Song he weaves a tribute to his partner and the universal truth of partnership and their capacity to hold each other up. It is a hymn to the couple and to the possibility of the mature relationship. This simple gem of a song is about things that might go unnoticed because of their subtlety. Fairall works best as a lone voice with an acoustic guitar and he seems to have the innate ability to recognise this and not over-produce. There is very little here that could be called excessive or bombastic. He should be heard more and should be filling halls as opposed to arenas as this is music that requires intimacy. His lineage is obvious, Dylan, Mitchell, Rickie Lee Jones, Tom Waits, and there are even aspects of his sincerity that remind me of a more raw David Gray. It would seem that his time might just be about to arrive.' - Billy Quinn, London I've been aware of Paul Fairall's instrument capabilities for some time now and always found it great listening but was delighted to hear his voice on the CD 'Trying'. Why has it taken so long to hear him? Teaming up with Linda must be the key because now together they have generated a really excellent CD. The songs they have written fully exploit the range and amazing strength of the voice married together with the instruments. I personally like End of the Day which starts with a slight hint of off beat emphasis gradually getting stronger and stronger into Reggae bringing back memories of ear piercing blues down at Highfields. The lyrics will touch anyone who listens as they are rooted in experiences shared by most. I hope to hear more from them again soon. - Martin Knowles, Billesdon England Trying' is the best kind of record - memorable tunes, played brilliantly, with words that you often don't quite understand but which hook in your head. A must if you like music in the shape of song. - Neil Mercer, England On' Virginia': Paul Fairall's tenor voice, accompanied by his hard-driving guitar riffs and drums, has all the degrees of grit and passion to make us feel the bitterness of Virginia Woolf's life, but it is his mandolin solos and his and Linda Danz's lyrics that gently and subtly probe the depth of her remorse. Rich in irony and understatement, the words from the chorus ' a little dip in the Underworld on such a nice day, stones in her pocket, shoes on the shore,' imply that Virginia was merely looking for souvenirs on the beach, just like any other beachcomber. We can't help but empathize with Virginia, not only because Paul, singing in the first person, becomes Virginia, but also because he conveys her complicated persona, full of self-deprecation while poking fun at us all. He sings ' You understand what I'm saying,' yet one hundred years ago, most people were mystified by her writings as well as her suicide, as perhaps many still are now. The stanza ' Words shouldn't fail me at the moment, yet they do and they're gone, ' contradicts the notion that what is written is permanent, and refers as much to our own immortality. After hearing the song once on the CD, it resounded again and again in my head, such that a magical alchemy resulted, that forced me to look at her life in a whole new way. I kept playing the song over and over, and because of the rich texture of it's musical components, I heard something new every time. In that sense, I believe that Virginia is a great song. On' Along the Way': For me, the beauty of this song is the way the musical elements harmonize with the content of the lyrics. Along the Way is perhaps the journey of a long-term relationship between two people. Dealing with whatever comes upalong the way, day after day, the couple ends up accepting not only the other, but also, themselves. Paul sings at a slower tempo, which accentuates the meaning of the first line, ' In the long run, you know and see things.' His guitar strumming pattern rythymically repeats the message that if you stick with someone long enough, through all the troubles and unsettled feelings, and have faith that the other person will give you something valuable, even if you don't know right away what it is, he or she will. The melancholy and depth of feeling in Fairall's voice underscores his awareness of self-deception in any relationship, ( ' You lie to keep her, ...you let the story forget the truth.' ), his honest assessment of himself, and a romantic vulnerability that makes the song real. Paul's harmony on the last lines and the organ in the bridge after the second verse are added surprises that keep us interested. - Tucky Fussell, Boston MA I'm here listening to the new master - what a freakin' difference - the recording is now 'alive'...well done. - GT, Los Angeles I have listened to this CD numerous times, especially on the long drive to Lake Forest every weekend and I have come to the conclusion that I love it. Every song has some quality about it that is both innovative and intriguing. I really like Virginia Woolf first because of the invocation of one of my favorite authors and second, for that beautiful line 'A little dip in the Underworld.' I adore the music of Trying and the 'Trickster Monkey.' 'The Violent Side of Katherine Anne' fascinates me as a twist on abuse and that haunting 'She keeps it hidden from everyone/Everyone but me.' I love the refrain of Dangerous Differences and the defiance of Linda's song, 'In a way you couldn't understand/.../In a way you'll never see.' I also especially like Wish Upon a Star at the end which has shades of the hidden track at the end of the Beatle's Sergeant Pepper's Lonely Hearts Club Band record. I hope this conveys how much I've enjoyed listening to the album. - Nicole, Wisconsin 'Trying' is the new CD from musician Paul Fairall with lyrics written in partnership with Linda Danz, a New York painter, who did the cover art. In a world full of noise, when music writing is electronic sampling and great rhythmic belches made palatable by large doses of Ecstasy, the drug, not the spiritual detachment, it is a pleasure just to listen to 'Trying'. Fairall and Danz write songs, real songs, songs that address mostly our emotions, our genuine emotions. That is understandable as lyricist Danz has profound insights into a range of feminine shades. That is particularly true of the lead track, 'Virginia', which is about a 'woman going mad,' notably novelist Virginia Woolf, who wanted to take 'a little dip in the underworld.' It is a song about suicide, and it is not one of these sleazy sentimental appeals to false pity and that comfortable feeling that all have for those who kill themselves. The lyrics are a mixture of the joy of wanting to do oneself in and the emotional pain one feels over the horror of it. Virginia spends her time 'staring into the river'--obviously the Styx, the main river of Hades, Hell. The pain and joy of the song is underscored by the upbeat music and the fact that it is Paul that is singing the song, not a woman. The song might be better suited to be sung by a woman, but then it would lose the edge of Fairall's voice, English, refined, yes, but with that sharpness one might find in a English music hall. Obviously, 'Virginia' is one of my favorites. There is a lot of strange contrasts. There is one of those desperate efforts that one normally finds in very heavy blues. But it is not blues. It has a more slow rock sound that one would expect to be part of love ballad, and instead we find a song of desperation. 'Looking for any sign of things that I will make my own' explains the lyrics. 'Ordinary people live, ordinary die, extraordinary keep trying' is the theme of the title track of the CD. True, and now it is also obvious that this Fairall/Danz collaboration is not kiddie music that does die almost as soon as it is born. You can dance to this music, I supposed, but you won't find Brittney Spears' mechanical movements and costumes set to it, nor will you find eight-year-old girls playing dress-up singing about 'how it takes a long time to scheme for things.' Thank god, music for adults for once, music very good for us all who grew up with rock 'n' roll, folk, psychedelics, and even movie themes and still want to listen music that speaks to human, not television commerical, concerns. You have to give Fairall/Danz praise for trying. For the many of us who have seen Fairall perform live, the CD is a revelation. Usually, Fairall plays solo or with another guitar. The CD, however, is a full band and effects. It was almost a shock, a delightful shock, to listen to the songs with drums in the background and various parts. The songs themselves, always powerful in person, take another life on CD. In great part, the effectiveness of the music is enhanced by it's analog, not digital, quality. The music is perfectly avant-garde, and yet it has an almost retrospective feeling as if it were on exceptional vinyl, not laser. Another favorite is 'Dangerous Differences' which truly has that music hall quality, and it is a catty little tune, about problems between women that arise suddenly after a long time. It is a particularly true tune that applies to all those friendships one has where the true differences are not addressed until they erupt in flurries of variously motivated hostilities. There are ten fine songs on 'Trying', and one can feel the deep simpatico that is needed to make a collaboration like this work. It comes about because Danz expresses whatever it is that she has to say, and Fairall writes what he wants. 'And at the end of the day' it all fits; it is not 'a rude awakening.' It is clear that Fairall is a true musician, one who has practiced his talent, rather than being packaged into a commodity, while Danz is just a writing talent to envy, as she is also a very good painter. - K.Pehme, NYC Paul Fairall's new CD 'Trying' is an exciting new addition to the pop-rock genre. The music is beautifully crafted. The title track of the CD 'Trying' is a compelling song. Combining thoughtful lyrics and a heartfelt melody that sweeps you into it's space. Songs like 'Dangerous Differences' jolt you with a great bluesy edge, which is echoed in the subtle complexity of the lyrics. 'Along the Way' is a melodic gem. A bittersweet melody that sneaks right into your soul. 'Troubled Boy' is destined to become a hit. It's got a hook that will grab hold of you and make you want to hear this tune, over and over. Linda Danz shares co-writing with Paul Fairall on all the lyrics of the CD. The words weave through the music, in such a complementary way, creatively using the music to enhance and sometimes offset the songs meanings. The CD performs well as a whole body of work. Although each song stands on it's own, the feeling you get after listening to the whole CD is ultimately satisfying. Fairall and Danz use subtly, sarcasm and a quietness to convey their views, feelings and ideas. While the CD in and of itself leaves nothing wanting; there is something more I'd like from them; The next CD! This CD will not disappoint and is well worth the money. R.Ziesk - NYC I just got my copy of Paul's CD today and listened to it during lunch. It's just wonderful!!! But I have to say that my favorite song has to be Virginia. It just keeps going round and round in my head. - E.V., NYC.